THE MUSIC GENOTYPE AS AN OPEN, SELF-ORGANIZING SYSTEM AND ITS SEISMIC STATE IN MUSIC EVOLUTION GRAŽINA DAUNORAVIČIENĖ
Lithuanian Academy of Music and Theatre grazina.daunoraviciene@lmta.lt
The typological phenomena of music are by nature a conceptual, intricately organized system that accumulates intramusical and extramusical factors of different origins. Due to their complicated systemic structure and constant change, they have become not-so-easily theorized objects of systemic (theoretical) musicology studies. In the presentation, the focus is put on the ontic concept of the music genre, or music genotype (Daunoravičienė 1990, 2019), which is examined via three problem sections. The viewpoint is concentrated through the methodological approach of the general systems theory (GST), which focuses on the nature and functioning of the music genotype and the relevant laws of fractality and isomorphism in the structure of systemic phenomena. The first problem section considers the significance of the historical memory of art music typologies (from Boethius to Adler; see Marx, 2004) for the epistemology of the music genotype. The author of the presentation argues that the constructive centers of the historical typological systems of music reflect the structure of the system of formative elements (criteria) at the ontical level of the music genotype. The latter, formed by the collective intelligence of music scholars of the sixth through the twentieth century, will be discussed in the presentation. In the discourse of the second problem section, the meta-functions of the music genotype – the realization of typologization through its own subfunctions, that is, compositional function and communicative function – will be based on the case study of an opera by young Lithuanian composers of today. Simultaneously, the metaphors of the generic contract applied by Jeffery Kallberg and music genotypes as agents of communication proposed by Jim Samson will be made relevant. The intersection of the postwar music avant-garde with the postmodernist philosophy of artistic introspection can be associated with the “explosive” effect of evolution. The seismic state of music evolution and the intensity of change tested the universality and plasticity of typological structures. The data of analysis of the early twenty-first-century practice of music art is a testament to the fulfillment of numerous twentieth-century visionary insights professed in the manifestos of such figures as Busoni (1907), Pratella (1910), Russolo (1913), Munari (1938), and Maciunas (1963) a. o., as well as their mixes in the strangest forms in Klangkunst, the fourth type of music. For the docu-
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